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[Alexandr Korol]

such things are being made by contemporary artists. The same applies to geometric figures — look for them in all variants, how they’re depicted, whether in animated format, in 3D, or simply drawn from some specific angle. All this needs to be searched, googled, examined, printed out on A4 sheets so that you have it in front of you, hang them up and observe. The matrix you’re creating should also be set up in one version, second, third, from different angles, under different lighting, and keep observing it, and suddenly you’ll notice something, see that something can be added or that something is already there. As for whether your head is overheating or not — the second Spirit, the one that is material, that is logic, that is cause-and-effect, that is thought, the second Spirit that’s exactly in the second volume of “Alternative History,” where I decipher the matrix — of course this is difficult for many people, because the head boils, a person has never thought this logically and structurally before. And here it can’t be “randomly tossing things together,” it all has to be precise. And this precision is what this Spirit teaches people. And that’s why many may start feeling unwell — a person might feel nauseous, dizzy, get a fever. But essentially, it’s nothing more than solving a crossword puzzle. You’re simply, perhaps for the first time, sitting down and doing something not hastily, but with concentration, doing something consciously, attentively, and responsibly. That’s what you gain from this path: responsibility, attentiveness, focus. That approach won’t work here — running around, quickly snapping a photo with your phone. Then you end up with a blurry photo and say, “this is modern art.” Or you smudge a painting with your hands and call it modern art. That’s understandable, that’s easy. And all those who live in chaos are now promoting this modern art. But in our time, and the current time is chaotic, it’s very difficult for a person to sit down and create, for example, a perfect portrait like in the Hermitage — with light and shadow, a highly detailed human figure. Of course, there are still such people nowadays, but they’re rare. Tell any ordinary modern artist to create something like that — his head will ignite, explode, he won’t manage. He simply doesn’t have the persistence, the focus, the clarity, the discipline. He’s used to rushing in, waving his paw, splattering something here, smearing something there — and that’s his painting, and that’s how he lives. So he eats, all the crumbs fall onto his sweatshirt, paint drips, and in this chaos he says something, forgets something — and that’s how he exists.